Perreaux SM6 MKII User Manual

Prisma

SM6 MkII

Balanced Preamplifier

Owners Manual

Perreaux Industries Limited makes no warranty for the use of its products, other than those
expressly contained in the warranty detailed herein. The Company assumes no responsibility for
any errors which may appear in this document, reserves the right to change products or
specifications detailed herein at any time without notice, and does not make any commitment to

update the information contained herein. No licenses to p atents or other intellectual prop erty of
Perreaux are granted by the Company in connection with the sale of Perreaux products, expressly or
by implication.

mboob^ru® is a registered trademark of Perreaux Industries Ltd.

Terms and product names in this document may be trademarks of others.

2

purchase. To realise the full

into your system, read the entire manual

to understand every detail by familiarising yourself with

the controls and features as y ou read. You will find it easier to install using the

facet clearly and

concisely. Your Perreaux dealer will be happy to assist if y ou encounter any

Read this manual, install your unit correctly and realise the sonic signif ican ce of

gn ed to p rovide the utmost in sonic realism and

electronic reliability with a functional y et elegant appearance that reflects the

To maintain the consistently high quality that you expect from us, and we exp ect

link throughout, from design and construction, through

Because we too listen to our products, we know that with your Perreaux you will

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Introducing the Perreaux

SM6 MkII Preamplifier

Congratulations on y our Perreaux SM6 M kII
potential of your unit you need to app reciate all aspects of its operation.

Before installing the SM6 M kII
carefully. Endeavour

relevant sections of this manual as a reference.

We have attempted to exp lain every feature and op eration

unforeseen problems.

your investment in Perreaux.

Features at a

Glance

Perreaux products are desi

care and craftsmanship applied during all stages of construction.

 Rugged build quality
 Truly balanced circu it design
 Discrete Class-A amplification throughout
 Multiple regulated power supplies
 Infrared (IR) full function remote control

 Precision volume control
 Dual preamp lifier outputs
 Home theatre bypass
 Remote trigger outputs
 Advanced PCB design and earthing techniques

from ourselves, Perreaux p roducts are essentially handcrafted.

We maintain the human­to the ultimate test, your music, your system, your ears.

discover many more of the musical secrets we strive to reveal.

From all of us at Perreaux Industries Limited, thank you for choosing th
Perreaux Prisma Series SM6 M kII preamplifier.

3

ii

All safety and operation instructions should be read carefully before the

SM6 is operated. Keep the Owners Manual in a safe place for future

ii

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Note:

 The SM 6 should not be used near water, for example near a bathtub,

Important Safety Instructions

reference.

kitchen sink, in a wet basement, near a swimming pool, etc.

 Mounting to a wall or ceilin g should be via a heavy-duty bracket or shelf

designed for audio equipment use.

 The SM 6 should be situated away from heat sources such as radiators,

stoves, or other appliances that produce excessive amounts of heat.

 DO NOT place the SM6 directly onto carpeted surfaces.

 Avoid exposing the SM6 to extremely high or low temperatures.

 The SM 6 should be connected to a mains power supply only of the type

described in the operating instructions, or as marked on the rear of the
unit.

 DO NOT disconnect the mains earth from the system.

 The mains p ower supply cord should be routed so that it is not likely to

be walked on or pinched by items placed on or against it.

 The power cord of the SM 6 should be unplugged from the mains outlet

when the unit is to be left unused for long periods or when attemp ting to
connect or disconnect cables and before cleaning your unit.

 Care should be taken so that objects and/or liquids do not accidentally

fall inside the SM 6.

 Please keep electrical equipment out of reach of children.

 Please unplug sensitive electronic equipment during electrical storms.

 Please replace any fuse with the value and typ e sp ecified.

 Avoid operating the SM6 with the cover removed.

 DO NOT bypass any fuse.

 DO NOT attempt to repair the SM6. In the event of a p roblem, please

contact y our Perreaux d ealer.

 DO NOT operate this product in an explosive atmosphere.

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Introducing the Perreaux SM6 Preamplifier...............................................................3

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Important Safety Instructions ........................................................................................4

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Table of Contents ..............................................................................................................5

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1111

Unpacking and Placement..............................................................................................6

2222

Instant Install......................................................................................................................7

3333

Front Panel Functions......................................................................................................9

4444

Rear Panel Functions.....................................................................................................11

5555

Remote Control Functions........................................................................................... 15

6666

Special Design Philosophies ........................................................................................ 18

7777

Special Design Features................................................................................................20

8888

Maximising System Potential ...................................................................................... 21

Table of Contents

9999

Care and Maintainance................................................................................................ 23

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Warranty Information and Obtaining Service........................................................24

1010
11

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Extended Warranty Registration Form ....................................................................25

1111
12

12

Faultfinding Your System............................................................................................. 26

1212
13

13

Specifications................................................................................................................... 31

1313
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Physical Dimensions ...................................................................................................... 35

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Contact Details................................................................................................................ 36

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5

1

The SM 6 is packaged for maximum protection. Please carefully read the

Be very careful to secure the unit if you are planning to flip the package

The SM6 should generally be placed close to your amplifier, keeping the

interconnect cabling short. Position all the separate comp onents of your system

close enough to your SM6 to avoid having to stretch or extend any of the

4 inches) around all sides of the

product and mount the SM6 on a flat surface, ensuring that the unit has adequate

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11

Unpacking and Placement

instructions below before proceeding to unp ack the unit. Be extremely careful.

Unpacking

Procedure

Note:

 Remove the two grey foam protectors off either side of the unit, leaving

 Inspect both ends of the cardboard box and open at the end without the

central staple by slitting the reinforced tape at either side.

 Fold back the flaps and tip the package on end and the inner box will

slide out.

 Lay the inner box down flat and upright, op en it conventionally by

separating the top tray from the bottom.

 The product can now be removed from the bottom packaging. This will

be easier if you have someone to help y ou by holding the base of the
box.

 Alternately, the bottom tray and preamplifier could be tipp ed upside

down and the bottom packaging removed. If opened in this manner,
please ensure that you turn the contents over again.

upside down.

the black material cov ering.

 Pull back the material and r emove the protective membrane from the

front p anel.

The preamplifier is now unpacked and ready for further installation.

Note:

Box

Contents

Placing

Your SM6

Please retain all packaging material for future transport.

1 x SM6 M kII Preamp lifier 1 x Screwdriver
1 x SM6 M kII Product manual 2 x Remote trigger leads

1 x Perreaux remote control 1 x Detachable AC p ower cord
2 x AAA batteries 3 x Performance analy sis charts

interconnect cables.

As a “rule of thumb”, allow 80-100mm (3-

access to free flowing air.

Do not place auxiliary equipment directly on top of the SM6.
Do not place the SM6 directly atop a p ower amplifier.

Please do not cover the product with a cloth or similar.

6

2

If you are like us, the first thing y ou will want to do is to play your favourite

ructions are written to

enable y ou to achieve this as quickly as possible. These are not comp rehensive

Please take the time to read the SM6 manual thoroughly as it

The SM6 is a reference preamplifier and best results will be achieved when

a

This minimises the potential to damage any other components when connecting

Connect the balanced (XLR) or unb alanced (RCA) outputs of your SM 6 to the

Try to keep all interconnect cables as far from loudspeaker cables as

alanced

nput switch to the appropriate position, ON

if using the balanced (XLR) inputs and OFF if using the unbalanced (RCA)

source component and make sure you have some program material

After checkin g the supp ly voltage compatibility with the voltage rating on the

set supplied into the rear of the unit and

o the wall. Switch on the socket at the wall and power up the SM6 using the

2

22

piece of music through your new SM6. The following inst

instructions, but are design ed to enable y ou to play music now!

Note:

incorporates many features, which will enhance its operation.

Placement

placed on a solid surface with adequate ventilation. DO NOT p lace on
carpeted floor or cover the preamplifier!

Turn off associated components

Instant Install

your SM 6 into the sy stem.

Connect SM6 to power amplifier

approp riate inputs at the rear of your p ower amplifier.

Note:

possible and well away from all AC mains leads.

Connect source component to SM6

Connect the relevant output of your source component to either the b
(XLR) or unbalanced (RCA) inputs of your SM 6.

Note:

Switch on source component

Switch on SM6

Be sure to set the Balanced I

inputs.

Turn on the
ready to play.

SM6 rear p anel, insert the power cord­int

switch on the rear p anel.

Switch on power amplifier

Turn on y our p ower amplifier.

7

Test for undesirable noises

ume listening

for any undesirable noises. After establishing that there are no p roblems, return

Now that you have achieved y our first objective, sit back, relax and please read

the rest of the manual at y our own p ace, in y our favourite armchair, whilst

ole exp erience much more

Without any p rogram source material, slowly increase the SM6 vol

the SM 6 volume level back to zero.

Play your source material

Start y our source material playing.

Increase the volume

Slowly increase the volume on the SM 6 to achieve a comfortable listening level.

CONGRATULATIONS!

sipping a glass of wine. You’ll find the wh
pleasurable whilst listening to music.

8

3

will alter the volume setting. The volume

disconnecting all power

supplies except the digital p ower supp ly for the microcontroller and turning off

Standby is indicated by a single dot on the display and operation can be resumed

Refer to Chapter 5 “Remote Control Functions”, for further details on vo lume

The display will illuminate when the p ower is turned on at the mains power

on,

selected at the last

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33

Front Panel Functions

Volume Control and Standby

Volume Control

When either button is depressed, they
adjustment range is 00 – 59 (-95dB to +18dB), with 47 indicating 0dB.

Standby

Pressing simultaneously will put the SM6 into standby,

the remote trigger outputs. The selected input and balance settings are saved.

by pressing buttons simultaneously again.

and standby controls.

Alphanumeric Display

switch or when various remote or front p anel adjustments are made. At turn­the disp lay will illuminate with 00 and default to the input

standby cycle.

Source Select and Mute

Source Select

When either button is depressed, they scroll through the source inputs.

The order of source inputs and disp lay indication is as follows:

Source Input Display

Input A IA
Input B IB

Input C IC
Input D (HT Loop) HT
Input E IE
Input F IF

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as it is a home theatre bypass.

Please ensure the level is suitably attenuated by the upstream processor

r has six positions and supplies the chosen source to

input E or F is

output to avoid the

advertently

, indicated by “MU”

on the display. M ute can be cancelled by pressing the buttons simultaneously

g the volume setting. The vo lume setting can b e decreased

source input D (home theatre

on source

Caution!

Note:

Note:

Input D (HT Loop) fixes the output to 0dB,

or receiver before selecting this input.

The source selecto
the Pre/Balanced outputs and Tape outputs. If source

selected, no signal is supplied to its applicable Tape
potentially damaging feed back loop which can occur if in
attempting to record and playback the same source simultaneously.

Mute

Pressing the buttons simultaneously will mute the vo lume

again, or increasin
whilst the volume remains muted.

The mute function still operates when
bypass) is selected.

Refer to Chapter 5 “Remote Control Functions”, for further details
select and mute controls.

10

4

Observe precautions regarding volume control settings. Please make all

changes at minimum volume setting. Only increase the volume after the

with balanced outputs via high

The use of good quality balanced line cable into the

balanced input cause the input signal to be relatively immune to noise and

d by the use of long interconnect cables, helps reduce hu m

Please refer to the operating manuals of your balanced output line level

source to verify that the pin assignments of the output connectors

t they are not

. Set to ON if using the

Do not connect source equipment to both the balanced and unbalanced

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44

Caution!

Rear Panel Functions

connections have been made.

Balanced Inputs

Accepts a signal from a source component
quality XLR connectors.

external effects cause
loop noise and aids in the cancellation of distortion p roducts.

The pin assignments of the balanced XLR input connectors are as follows:

Note:

correspond to the SM6 balanced inputs. In the event tha
compatible, the interconnecting cable will need to be altered to suit.

Pin 1: Signal ground
Pin 2: Signal + (non-inverting)
Pin 3: Signal – (inverting)

Shield ground: Chassis ground

Balanced Input Switch

This switch selects which input to use for source inp ut A
balanced (XLR) inputs and OFF if using the unbalanced (RCA) inputs.

Note:

inputs at any one time.

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The position of the Balanced Input switch has no bearing on the

. Set the

Refer to Chapter 13 “Sp ecifications”, for detail on input sensitivity and

ended input (RCA) from source components with

nded analogue outp uts. These high quality gold plated sockets are

highly conductive, corrosion resistant, and provide less p otential for corrosion

fixes the output to 0dB, as it is a home theatre bypass. Please

e the level is suitably attenuated by the upstream processor or

Refer to Chapter 13 “Sp ecifications”, for detail on input sensitivity and

line level audio signal, suitable

for recording, from the selected source inp ut. This output is disconnected when

ovide a line level audio signal, suitable

for recording, from the selected source inp ut. This output is disconnected when

commonly referred to as “Preamp Out”. It

will p rovide the audio signal required to drive virtually any amplifier to full

ended (RCA) outp ut is wired in parallel with M ain Output 1 and is

This balanced (XLR) p reamplifier outp ut provides the signal required to drive

virtually any power amplifier equipped with a balanced input. Connection

nput switch has no bearing on the

Note:

balanced output, it only selects which input to use for input A

Balanced Input switch to ON only when using the balanced input....

impedance.

Unbalanced Source Inputs

Accepts a standard single­single-e

induced distortion.

Caution!

Input D
ensur

receiver before selecting this input.

impedance.

Tape 1 Line Outputs

This single-ended (RCA) outp ut will p rovide a

source input E is selected; to p revent any p otentially damaging feedback loops.

Tape 2 Line Outputs

This single-ended (RCA) outp ut will p r

source input F is selected; to p revent any potentially damaging feedback loops.

Preamp Output 1

This single-ended (RCA) outp ut is

power.

Preamp Output 2

This single­useful for supplying signal to another amplifier if bi-amping.

Balanced Outputs

should be made with high quality cables fitted with XLR connectors.

Note:

The position of the Balanced I
balanced output; it only selects which input to use for source input A.

12

The pin assignments of the balanced XLR outp ut connectors are as follows:

Please refer to the operating manual of your amplifier to verify that the

pin assignments of the input connectors correspond to the SM6 balanced

puts. In the event t hat they are not compatible, the interconnecting

It is important that the SM6 be operated from the correct AC mains voltage.

set for the voltage applicable to the original country of

The SM6 will op erate satisfactorily within a voltage variation of up to ±5% of

tion to another area,

city or country, or extraordinarily high or low voltages, please contact your

ere

For more information on fuse ratings, please refer to Chapter 13

r replace the fuse with any other ratings other than the one

The serial number is unique to y our SM 6. Please record this number and store it

in a safe p lace. For any service related enquiry, please be prepared to quote the

Two parallel remote trigger outp uts are provided to switch on or off any

e

connect peripherals, two outputs are p rovided. The r emote trigger outp uts are

designed to accept a mono, 3.5mm diameter, male jack. The voltage r ating is

Pin 1: Signal ground
Pin 2: Signal + (non-inverting)

Pin 3: Signal – (inverting)
Shield ground: Chassis ground

Caution!

out
cable will need to be altered to suit.

Input Voltage and Fuse Rating

Input Voltage

This unit is factory
destination.

that voltage at which the unit has been set.

If you require the voltage setting to be altered, e.g. reloca

Perreaux dealer. Qualified service personnel can only perform this modification.

Caution!

Never attempt to connect t he unit to the incorrect voltage. Sev
damage can result from applying incorrect voltage to the unit.

Fuse Rating

The fuse rating disp layed here, refers to the rating of the mains inlet fuse.

“Specifications”.

Caution!

Neve
specified.

Serial Number

product serial number to Perreaux personnel or their service representative.

Remote Trigger Outputs

connected p eripherals to the SM 6. In the event that it is not p ossible to cascad

+5V DC when ON and 0V DC when OFF with maximum current being 10mA.

13

The plug must follow the specifications as per the diagram below:

standard mains input is provided at the rear of the unit. The AC cord set

, please check the voltage label on

the rear panel to ensure that your unit conforms to the power supply in

your area. Never attempt to connect the unit to the incorrect voltage.

The SM6 is equipped with a user serviceable AC mains fuse. In the event of

fuse failure, always replace with the same typ e and value fuse. Remember, fuses

do not usually blow without a reason. Any doubts about fuse failure should be

For more information on fuse ratings, please refer to Chapter 13

Never replace the fuses with any other ratings other than the one

Always ensure your SM6 is disconnected from the mains supply before

) to turn power ON. M ute relay circuitry is

o 2 second after the power

) to turn the SM 6 off at

AC Mains Input

An IEC­is removable, allowing you to upgrade to a cord set of y our p reference.

Caution! Prior to connection to the AC mains

Severe damage can result from applying incorrect voltage to the unit.

AC Mains Fuse

conveyed directly to your Perreaux dealer.

“Specifications”.

Caution! This is the ONLY user accessible fuse.

specified on the rear panel.

attempting to change the mains fuse.

Power Switch

Depress this switch to the right (I
employed in the SM 6 and output is muted for 1 t
switch is actuated. Depress this switch to the left (O

which time the outp uts will be disconnected.

Note: The SM6 resets the volume to minimum at turn-on.

14

5

button Perreaux Universal infrared remote

removin g the

set required to

puts the SM 6 into standby , disconnecting all power supplies

the

ed by a single dot on the display and

. The d isplay will indicate

, or

the mute button is depressed again at which stage volu me will be returned to the

The mute control has a ‘punch through’ function and will operate

ing the CD

s electing

and is intended for use if

Any

turned

low y ou to vary the level of either the Left or Right

channel to obtain the correct stereo balance for your listening position. Pushing

the Balance Left button will cause the level of the right channel to be attenuated

Balance Right button will cause the level of

During any balance adjustment the disp lay will indicate the direction of

adjustment, left or right, with an "L" or an "R" followed by a number indicating

R9. " LR" on the disp lay

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55

Remote Control Functions

The SM6 comes supplied with a 36
control.

The remote control uses 2 x AAA batteries and may be changed by
black p erspex insert.

Note:

Note:

Press the button on the remote to select the code­control the SM6.

The SM 6 uses the following functions:

Standby

Pressing this button
excep t the digital power supply for the microcontroller and turning off

remote trigger outputs. Standby is indicat
operation can be resumed by p ressing standby again or selecting a source input.

Mute

Depressing this control causes volume to be muted
"MU" and the volume will remain muted until the volume level is increased

previous setting.

regardless of the code-set selected i.e. you can be operat
player remote functions and still use the mute control without

the button first.

Display

Pressing this button will cause the disp lay to turn off,
the light of the display is distracting (for instance in a darkened room).
operations p erformed will be momentarily displayed before resuming a
off state. The display can be turned on by again pressing the display button.

Balance Left / Balance Right

The balance controls al

(decreased in volume). Pushing the
the left channel to be attenuated.

the level of adjustment. The range is L1-L9 and R1­indicates the balance is centred.

15

to control the

is

to control the

is indicated by

is indicated by

Depressing this control selects source inp ut D. This offers a preamplifier bypass

”

home theatre bypass

is indicated by

is indicated by

The Volume control has a ‘punch through’ function and will operate

set selected i.e. You can be operating the CD

Note:

Balance settings are stored when the unit is put into standby.

/ Input A Source Select

Depressing selects source input A and the relevant code-set
compact disc player. Pressing selects source input A only. Source inp ut A
indicated by “IA” on the disp lay of the SM6.

/ Input B Source Select

Depressing selects source input B and the relevant code-set
tuner. Pressing selects source input B only . Source input B

“IB” on the disp lay of the SM6.

Input C Source Select

Depressing this control selects source input C. Source input C
“IC” on the disp lay of the SM6.

Input D Source Select (home theatre bypass)

for home theatre applications. Home theatre bypass mode is indicated by “HT
on the display of the SM6.

Note:

Note:

Volume and balance functions are disabled in
mode, although the volume can still be muted.

Input E Source Select

Depressing this control selects source input E. Source input E
“IE” on the display of the SM6.

Input F Source Select

Depressing this control selects source input F. Source input F
“IF” on the display of the SM 6.

Volume Up

Depressing this button increases the volume.

Volume Down

Depressing this button decreases the volume.

regardless of the code­player remote functions and still use the volume controls without

selecting the button first.

16

Scroll Source Up

Pressing this button scrolls the source input up, selecting in the order:

IA  IB  IC  HT  IE  IF 

Scroll Source Down

Pressing this button scrolls the source input down, selecting in the order:

IA  IF  IE  HT  IC  IB 

17

6

Perreaux has been d esigning and manufacturing only the highest quality audio

componentry for more than a quarter of a century . Technology has continued to

esign,

materials and manufacturing techniques has advanced in tandem with this.

Today’s Perreaux range comes closer to fulfilling our shared vision than at any

have

design

“less equating to more” has been at the heart

We wish to maximise the quality of your listening pleasure by keeping the

ponentry and signal path as uncluttered, short and clean possible. All

components in the signal p ath, even those of the highest quality have an effect

on the signal, thereby altering the quality of the reproduction in some way. Our

its entirety, the original performance by not adding or

We carefully study the user interface and par down the number of buttons and

nd no more. How tempting it has

been over the y ears to loose sight of our core values as technology or trends

have made it p ossible. That is one of the reasons why our older products still

always will

Our p roducts appeal to those who seek the ultimate in audio exclusivity , namely

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66

Special Design Philosophies

evolve rapidly over that time and our knowledge and ap plication of d

other time in the past.

To follow is a discussion on some of Perreaux design philosophies that
been incorporated into the entire range.

Minimalist

Design

Leading British architect, John Pawson, writes:

“The Minimum can be defined as the perfection that an object

achieves when it is no longer possible to improve it by subtraction.
This is the quality that an ob ject has when every component, every
detail, and every junction has been reduced or condensed to the
essentials. It is the result of the omission of the inessentials”.

Perreaux has historically embraced the minimalist ethic from an audio
perspective only. The concept of

of all Perreaux audio designs for more than a quarter of a century .

Minimalist Electronics

com

aim is to recreate in
subtracting anything, irrespective of the source.

Minimalist User Interface

associated clutter leav ing just the essential a

have such a high resale value today. The user interface has and
remain simple, free from adornments, clean and uncluttered.

Minimalist Aesthetics

the perfect blend of “form and function”.

18

“Form and function” are both tou

gh masters. That is why our amp lifier heat

sinks are not hidden, but instead feature p rominently in all our designs. We

end audio

gether in p erfect

make no excuses for producing some of the most distinctive high­products on the p lanet. We let “form and function” blend to
harmony. This surely is the essence of true minimalist utilisation.

Minimalism in a Wider Context

John Pawson writes:

“Clearly simplicity has dimensions to it that go beyond the purely
aesthetic: it can be seen as the reflection of some innate, inner
quality, or the pursuit of philosophical or literary insight into the
nature of harmony, reason, and truth”.

19

7

Mechanical strength has been a hallmark of Perreau x p roducts since the

t started production back in 1974. The concept behind the physical

design and construction is that each structural member should contribute to both

The positive

and negative halves of the signal never touch, remaining balanced throughout all

stages. This circuit topology offers the ultimate in performance, providing

ete output stages operating in Class A provide output buffering. This

enables low impedance loads to be driven, over long cable lengths using any

or

each of the volume control chips (two chips are used to keep the system fully

balanced and therefore, to maintain separation, each chip is supp lied with it’s

own sep arate power supply), another one for each of the output buffering stages

ause the SM6 utilises a fully balanced circuit top ology), another

for the digital logic and the final p ower supply looks after the input relays. The

advantage of this is that there is complete isolation from stage to stage. The

letely out. This is further evidence of a thoroughly

Many audiophile gr ade components are still provided with analogue controls

nfrared (IR)

you don’t have to get out of your chair to make an

mute, volume

tention to designing the p roduct to ensure

maximum separation between internal signal and power earths, only meeting at a

The SM6 uses two digitally controlled resistor ladder volume controls. This is

se we treat the p ositive and negative parts of the signal separately (true

balanced topology ). The advantages of using a digitally controlled analogue

resistor ladder to adjust volume are precise control, no contacts to corrode

You do not need to purchase an RCA style sp litter if y ou want to drive two

separate p ower amps simultaneously, as there are dual parallel p reamplifier

7

77

Rugged Build

Quality

Special Design Features

company firs

rigidity and performance.

Balanced

Design

Class A

Output

Multiple

Power

Supplies

Infrared (IR)

Remote

Control

The SM6 is a truly balanced preamplifier, from input to output.

increased noise rejection and lower levels of distortion.

Four discr

cable.

There is a separate power supply for each section of the preamplifier. One f

(once again bec

digital noise is kept comp
designed product offering.

that are adjusted on the faceplate of the unit. The SM6 features an i
remote control meaning
adjustment. Some of the functions available are: standby,
up/down, display on/off, input select and balance.

Earthing Perreaux engineers p ay p articular at

central starred point.

Precision

Volume

Control

Dual Outputs

becau

creating wiper noise and no analogue component drift.

outputs.

20

8

ignored area in high fidelity systems is the cabling connecting the

components. Interconnect leads should be high quality cable with

substantial terminations. Gold plate is inherently resistant to corrosion, and an

nductor. The p resence of corrosion induces distortion and poor

conductivity will seriously interfere with sound quality. Terminations must plug

snugly into sockets to maintain maximum conductivity and to avoid annoying

is equally critical. Use only solidly constructed cable of high

purity copper or silver content. Again, gold p lated terminations are

recommended, of the spade or banana plug typ e. Use cables of equal length and

lectrical resistance at the lowest

possible level. If your amplifier is closer to one of your speakers than the other,

avoid coiling the longer lead as this can create inductance, with the p otential of

ons clean, firm and tight.

The traditional adage that a chain is only as strong as its weakest link most

amping uses two similarly powered amplifiers, with exactly the same input

the same input signal is p rovided to each of them, the

output level will be exactly the same. This can often be done with one p ower

amplifier connected to the tweeters and another to the woofers, as it spreads the

amping can achieve greater

control, dy namics and resolution than if you try to run everything from a single

The use of the balanced signal inputs and outputs can have the effect of cleaning

, radio frequency interference (RFI) and general extraneous

rubbish that can enter an audio system. A balanced signal input system operates

on the principle of differential amplification. The p ositive and negative inputs

r and the difference between them is amplified.

Noise entering the sy stem is imposed equally on the positive and negative

s called Common M ode

Rejection Ratio (CM RR). CM RR is an equipment and sy stem specification,

which describes how well unwanted common mode signals are counteracted

when used in conjunction with balanced connections. CM RR action prevents

ld up of extraneous hum; buzzes and RFI when analogue

signals are conveyed down cables and between equipment p owered from

8

88

Maximising System Potential

Interconnects

and Speaker

Cables

Bi-amping Bi-

An often­various

excellent co

earthing problems.

Speaker cabling

as short as p ossible to maintain uniform e

reduced high frequency p erformance. Keep all connecti

certainly applies to audio systems.

sensitivity so that, when

Balanced

Interconnects

power requirement between the two amplifiers. Bi-

stereo amp lifier.

up hums, buzzes

are contrasted against one anothe

signals and therefore will not be amplified, as no differential voltage exists.

The term used to describe the quality of the effect i

the egress and bui

different locations and is widely used in professional audio app lications.

21

The rejection ratio achieved is described in minus dB

. The CMRR of a system

40dB

means that all garbage entering the unit will be made 100 times smaller. The

piece of equipment with poorest CMRR will effectively determine the hum and

level of the sy stem. Effectively the weakest link in the chain. Highest

is

important. To avoid airborne frequency peaks, place them well away from your

Loudspeaker placement is a controversial issue; suffice to say that room corners

ly the worst situation. Everything which constitutes your listening

area, including the materials used in its construction, will affect the sound itself

and the sound stage created. Equally, y ou have to live with y our system and

l have to be made in line with y our particular

priorities. The best advice we can give concerning the choice of loudspeakers is,

establish clearly in your mind your requirements; listen to many makes and

red choice in your own

ordinarily, the amp lifier should

have a continuous RM S outp ut power rating the same as or higher than the

, 8Ω speakers

, 8Ω speakers

that is, the

High fidelity systems are an investment deserving of careful thought and

personal time. Your preferences, priorities and constraints will dictate the

for

you. Our exp erience tells us that the bitterness of dissatisfaction lingers long

–

follows the formula 20Log(V

output/Vinput

). In other words a CM RR of –

RFI
quality audio systems should quote a CMRR figure of –80dB or better.

Positioning

Positioning of your source equipment (tuner, video, disc, tape, record, decks)

Ancillary

Equipment

loudspeakers and not in the corners of your listening area.

Loudspeaker

Placement

are general

therefore compromises wil

models, and if at all p ossible audition your prefer
listening area and trust your own ears.

Matching

When matching sp eakers to amp lifier wattage –

Amplifier and

Speaker

Ratings

Note:

speakers at the same impedance rating. For example, 100W
driven by a 100W

driven by a 160W

at 8Ω amplifier is not as ideal as 100W

RMS

at 8Ω amplifier.

RMS

RMS

RMS

100 Watts is twice as loud as 10 Watts, not ten times as loud.

Perreaux equipment is designed with substantial headroom built in –

reserve necessary to rep roduce musical peaks without clipping.

Final

Thoughts

parameters of your purchase; your ears will tell you what the right choice is

after the fragrance of cheap price is forgotten, hence our use of the term
investment.

22

9

The SM 6 has been designed to p rovide many y ears of trouble free enjoyment. It

set from t he rear of the

ing to clean your SM6 in the manner described

coat finish. To remove finger

If the dirt is not removed, dip your cloth in a mild solution of soap and water,

y of

methylated spirits, applied directly to the cleaning cloth only and reworking the

front panel features a high quality electroplate finish. Over time the

restore it to

Gently wipe the front panel with a very clean cotton cloth. Wipe across the

ication may

Apply a small quantity of any car polish containing carnauba wax to a very clean

The car polish must state “Safe for Clear Coats” as the polish will therefore

Gently wip e over the front panel in lateral motion, allow to dry and then gently

9

99

Care and Maintenance

is important to keep the exterior of the unit clean.

Note:

Cover The cover features a durable, high qu ality powder-

Front Panel The SM6

Please switch the unit off and remove the cord­amplifier before attempt

below.

Never apply liquid directly to the SM6.

Never use abrasives.

Never rub in a circular motion.

marks and dirt, lightly rub the surface with a soft cloth.

squeeze excess moisture from it and then gently reapply to the surface.

Stubborn dirt may be removed by the application of a small quantit

effected area.

surface may retain finger marks and may need to be cleaned to
original condition.

Regular Cleaning

surface and never in a circular motion.

Removing Stubborn Marks

Only attempt this infrequently , as too regular or vigorous appl
damage the surface.

cotton cloth.

Note:

contain the absolute minimum amount of abrasive compound.

wipe off with a very clean cotton cloth.

23

10

defects in material and

year

ve (5) y ears from date of

purchase, please return a fully completed warranty registration form along with a

Perreaux Industries Ltd may, at its discretion, allow the warranty on this p roduct

to be transferred. Please contact Perreaux on [e-mail] requesting a

If during the warranty period the Perreaux SM6 exhibits defects in materials

and/or workmanship, it will be repaired or replaced, at our option, without

charge for either parts or labour. The warranty does not apply to any unit that

Any unit that is not p erforming satisfactorily may be returned to the factory in

New Zealand for evaluation. Return authorisation must first be obtained by

either calling or writing to Perreaux prior to shipping the unit. Perreaux

authorised distributors and dealers shall not be held liable

for any freight or insurance charges. Freight and insurance charges to and from

her express warranty on the SM6. Neither this warranty nor any

other warranty, exp ress or implied, including any implied warranties of

merchantability of fitness, shall extend beyond the warranty p eriod. No

In the event that you are exp eriencing difficulty with the SM 6, please as a first

step , follow the faultfinding procedures in Chapter 12. If after following this

10

1010

Warranty Information

and Obtaining Service

1 Year

Limited

Warranty

5 Year

Extended

Warranty

Warranty

Transfer

Information

on the SM6

Warranty

The Perreaux SM6 is warranted to be free fro m
workmanship under normal use to the original purchaser for a p eriod of 1­(365) days from the date of p urchase from an authorised dealer or distributor.

To extend the warranty on y our Perreaux SM6 to fi

copy of the original receipt of purchase to:

Perreaux Industries Ltd
PO Box 305
Mosgiel

Dunedin 9053
New Zealand

For the Extended Warranty Registration Form, please refer to Chapter 11.

transfer.

has been misused, abused or altered.

Obtaining

Industries Ltd and its

the Perreaux factory will be the sole responsibility of the owner of the unit.

There is no ot

responsibility is assumed for any incidental or consequential damages.

Service

procedure, you require further assistance, please contact your Perreaux dealer.

24

11

mail it to Perreaux

11

1111

Extended Warranty

Registration Form

Please complete this form and either fax, mail or scan and e-

Industries Ltd.

Fax: [phone]

Mail: Perreaux Industries Ltd
PO Box 305

Mosgiel
Dunedin 9053
New Zealand

E-mail: [e-mail]

Alternatively , complete the online Warranty Registration Form on our website
– www.perreaux.com.



5 Year Extended Warranty Form

Name:

Address:

Suburb:

City:

Country :

Telephone:

E-mail:

Website:

Product Purchased:

Serial Number:

Dealer:

Purchase Date:

d d m m y y y y

P R I S M A S M 6 M K I I

/ /

25

12

rm of noise in any high fidelity system and at

Hum may result from a number of different situations and to make matters

Hum can be induced into the system from one or more sources and is generally

system involvin g AC voltage

and current such as power supp lies in amplifiers, motors, switching equipment

c

instructions that can be given which will offer a guaranteed cure. A good

level signal equipment such as p hono systems,

level signal equipment such as power

eful designs must be employed to negate these

level signal equipment. Another good p ractice to adopt is to keep

The practice of neatly tying excess leads together for a tidy looking installation

Earth loops are a particularly annoying cause of hum in the sy stem. Earth loops

are cr eated by mains frequency current flowing in the screen of signal leads and

apparent with the lack of adequate earthing between the various pieces

fi sy stem. This is further compounded by the

fact that the equipment earthing considerations vary between different

products used with equipment manufactured by other manufacturers

may cause an earth loop situation, but Perreaux products used with other

Perreaux p roducts will not cause an earth loop situation provided the following

outlet. This will ensure that each piece of the sy stem shares the same earth

or ground. This rule applies to all installations of all brands of equipment.

e operated from an extension cord

12

1212

Faultfinding Your System

Cause and

Elimination

of Hum

Induced Hum

Hum is a particularly annoying fo
some time has been experienced by many of us.

worse may be caused by a seemingly illogical combination of circumstances.

One or more of three specific causes creates hum in the system.

associated with the radiation of noise from one system into another.

Hum and noise can be radiated from any object or

etc. All of these may be found in your hi-fi system or within y our own home.

Hum may be induced into any part of the system, so there are no specifi

practice to adopt is to keep low­tuners etc. well away from high-

amplifiers. Alternatively, car
effects on low­all signal leads away from power leads.

should be resisted, as this could be the cause of induced hum in the system.

Earth Loops

becomes
of equipment making up the hi-

manufacturers and countries.

Perreaux

precautions are observed:

 The entire hi-fi system must be connected to the same mains/line power

A preamplifier or power amplifier may b
plugged into the same mains/line outlet.

26

 When a piece of equipment is supplied with a three p in mains/line supp ly

This is a common cause of hum and noise in the sy stem. In many instances, the

n

earth connection somewhere in the system is to p hy sically check every

When experiencing a p roblem, such as one channel not working, or a no ise in

ing the p roblem to a

specific item or area. This practice will assist in diagnosing, curing, or at least

advising y our technician of the p roblem and result in a saving of time, money

use of the p roblem is to start at

the loudspeakers and work back to the music source, eliminating each piece of

Observe precautions regarding volume control settings. Please make all

crease the volume after the

Check that the entire system is connected in the proper manner and that the

the

B

lead all three pins must be connected in the correct fashion - see your
dealer if in doubt.

 Check all interconnecting signal leads for good connections, both internal

connections and firm contact with the sockets. While the centre pin may
make firm contact, it is very important that the outer contact is also firm.

 Never remove the earth/ground wire from the mains/line supp ly of any

piece of equipment. This could be hazardous.

Broken Earth Connections

only way to eliminate the possibility of hum problems arising through a broke

connection.

Identifying

and Isolating

one channel, it is good p ractice to adopt a method of isolat

Problems

and perhaps frustration.

A logical approach to isolating the probable ca

equipment in turn.

Caution!

changes at minimum volume setting. Only in
connections have been made.

mains/line supp ly is connected and switched on.

For clarity during this section, we have labelled one loudspeaker ‘A’ and
other loudspeaker ‘B’. In this example, loudspeaker ‘A’ app ears faulty.

Initial system connections

PREA MPLIFIER

AMPLIFIER

A

27

Step 1 – Loudspeakers

B

ther. If the fault

If the fault now appears in loudspeaker ‘B’ then the problem lies further up the

A B

Change the loudsp eaker leads completely from left channel to right and from

right channel to left by now swapping them at the amplifier output. If the fault

now app ears in loudspeaker ‘B’, then that loudsp eaker lead is at fault, go no

the fault app ears in loudspeaker ‘A’ then loudspeaker leads are OK. M ove on

B

s on the rear of y our amplifier, as follows: Change each

input source in turn by swapp ing the p lugs left to right and right to left. If the

fault changes to loudspeaker ‘B’ on any one of the selected inputs, then that

Change the loudsp eaker leads from one loudspeaker to the o

A

remains in loudsp eaker ‘A’, then loudspeaker ‘A’ is at fault, go no further.

line. M ove on to step 2.

Step 2 – Loudspeaker Leads

PRE AMPLIFIER

AMPLIFIER

PREAMPLIFIER

AMPLIF IE R

further.

If
to step 3.

Caution!

Restore the loudspeaker leads to their original connections at both ends.

Step 3a – Inputs (Channels)

A

PREA MPLIFIER

AMPLI FIER

Change the input p lug

particular inp ut source is p ossibly at fault. Move on to step 3b.

28

If the fault stays in loudsp eaker ‘A’, then it is probable that the fault may exist

within the amplifier.

Changing of any connectors must be carried out at a minimum volume

e connections have been

B

Change the interconnect leads completely from left channel to right and from

f

the fault stays in loudsp eaker ‘B’, then the interconnect lead is at fault, go no

Changing of any connectors must be carried out at a minimum volume

nly increase the volume after the connections have been

Should the fault p rove to be in the amplifier it will be n ecessary to determine

where the fault actually lies. M ost of this has been done, for instance, you now

channel is affected. This information will assist

If the apparent fault is noise in one or both channels and has been localised to

e whether or not the noise increases

with the volume control; whether or not the noise exists when no input at all is

connected to the amplifier; and what typ e of sound the noise is. For example,

. This

information will also assist your service person in making repairs or

Caution:

setting. Only increase the volume after th
changed.

Step 3b – Inputs (Interconnects)

A

PRE AMP LIFIER

AMPLIFIER

right channel to left by now swapping them at the source component’s output. I

further.

If the fault appears in loudspeaker ‘A’, then the interconnect lead is OK.

Caution!

setting. O
changed.

know what input/s and what
your Perreaux dealer or service person when or if any service is required.

the amplifier, it will be necessary to determin

low frequency hummin g noise or high frequency hissing noise

adjustments.

29

B?

A?

cable at faul t

at fault

at fault

Faultfinding

Flowchart

Fault i n

loudspea ker A

Swap loudspe ake r

connect ions

Fault i n

loudspea ker

A?

NO

Swap am plifi er

output s

Fault i n

loudspea ker

NO

Restore speaker

cables t o ori ginal

conne ctions

Swap am plifi er

source input

cha nnels

YES

YES

Loudspea ker A

at fault

Loudspea ker
cable at faul t

Fault i n

loudspea ker

YES

Swap source

output channels

Fault i n

loudspea ker

YES

Ampli fier

NO

NO

Loudspea ker

Input sourc e

30

13

The SM 6 specifications are detailed in brief and then subsequently in more

t to explain the significance of each

The correlation between published specifications and sonic quality can be

unreliable. A list of numbers reveals virtually nothing. All technical

uantitative

interpretation. Measurements of the SM6 reveal excellent results by any

13

1313

Specifications

detail. In the detailed version, we attemp
specification.

measurements must be subject to qualitative as well as q

standards. Tested at 115V and 230V after a 10 minute warm up p eriod.

Specifications

In Brief

Rated Output

Unbalanced:.............................................................................................1.5V

Balanced: .................................................................................................1.5V

Maximum Output

Unbalanced:.............................................................................................3.3V

Balanced: .................................................................................................6.8V

Gain Range: ...................................................................................-97dB to +18dB

Gain Resolution:............................................................................................ 1.5dB

Total Harmonic Distortion ( THD+N)

Rated Output: ...............................................................<0.004%, 20Hz – 20kHz

Frequency Resp onse

20Hz – 20kHz:............................................................................ +0dB, –0.03dB

10Hz – 60kHz:............................................................................ +0dB, –0.15dB

Signal to Noise ratio (unweighted)

Unbalanced:................................................................................................. 95dB

Balanced: ................................................................................................... 100dB

Dynamic Range:........................................................................................... 116dB

Channel Sep aration

Unbalanced:...................................................................................95dB @ 1kHz

.................................................................................................70dB @ 20kHz

Balanced:.....................................................................................105dB @ 1kHz

.................................................................................................80dB @ 20kHz

Input Impedance

Unbalanced:.................................................................................................10kΩ

Balanced: .....................................................................................................20kΩ

Input Sensitivity

Unbalanced:.............................................................................................. 200mV

Balanced: .................................................................................................. 200mV

Input Overload

Unbalanced:.............................................................................................3.9V

Balanced: .................................................................................................7.8V

Phase Accuracy: ....................................................................±0.5˚, 20Hz – 20kHz

Power Consumption

Standby: ...................................................................................................... 0.5W

Operation:..................................................................................................... 50W

RMS

RMS

RMS

RMS

RMS

RMS

31

Audio Connections

7.7kg (17.0lb)

10.7kg (23.6lb)

r to it’s full p otential. Even

with an input level from a source component with a low level output, the SM 6

has enough gain to p rovide the amplifier with an optimum signal, utilising the

The maximum outp ut level of the SM6 has been designed to provide substantial

headroom allowing greater dynamics without clipping, handling any musical

the SM 6 can alter the volume level. At the minimum setting

97dB, at the maximum setting ‘59’ the level is +18dB.

Audio Inputs

Unbalanced:................................................................... 6 p airs RCA connectors

Balanced: ......................................................................... 1 pair XLR connectors

Audio Outputs

Unbalanced:................................................................ 2 p airs RCA p reamp level

.........................................................................................2 p airs RCA line level

Balanced:...................................................................... 1 pair XLR preamp level

Other Connections

1 x IEC AC mains input receptacle
2 x 3.5mm mono jacks

Mains Input Voltage

100V, 110V, 120 V, 220V, 230V or 240 V AC at 50Hz or 60Hz

(Set within the SM6 at time of manufacture)

Dimensions

Width...............................................................................................430mm (16.9”)

Height ................................................................................................106mm (4.2”)

Depth...............................................................................................323mm (12.7”)

Specifications

Explained

Fuse Ratings

Mains inp ut fuse

100 – 125V:.........................................................................2SB slow blow 0.5A

200 – 250V:.........................................................................2SB slow blow 0.5A

(user servi ceable)

Internal DC rail fuses ..................................................2 x 2AG normal blow 0.5A

(NOT user serviceable)

Weight

Net:....................................................................................................

Gross:...............................................................................................

Rated Output........................................................................................... 1.5V

RMS

The SM6 has been designed to drive any amplifie

full dynamic range and signal to noise sp ecifications of the amplifier.

Maximum Output ................................................................................... 3.3V

RMS

transients with finesse and ease.

Gain Range ................................................................................ -97dB to +18dB

The range in which
‘00’ the volume level is ­Volume setting ‘47’ is 0dB.

32

Gain Resolution...........................................................................................1.5dB

g (i.e. ‘46’ is

1.5dB, ’47’ is 0dB, ‘48’ is +1.5dB). The gain resolution is linear throughout

Total Harmonic Distortion + Noise is the percentage of output signal which is

ade up of frequencies added due to harmonics of the fundamental frequency

and noise. By using a truly balanced circuit topology throughout the SM6 and

maintaining Class A operation at all stages, Perreaux engineers have kept this

This is the “standard” specification with which everyone is familiar. Actually,

“frequency response” is a misnomer: technically, it should be called “amplitude

orm the amplitude or

strength of signals of various frequencies is maintained. It is generally thought

that a difference of 1dB is the least that can be perceived by ear, the SM6 is

the

Dynamic Range is the difference between the loudest and quietest portions of a

re

than enough dy namic r ange to cope with any musical transients the CD format

Channel separation indicates the immunity to crosstalk. Crosstalk is caused by

ents and lines, which results

in unintentional mixing of stereo signals. M eticulous wire routing ensures

frequency separation while sup erior power supply design

The resistance “load” that is p resented to the component that is driving it. The

high value indicates that the preamplifier will not load down the output of most

This is the change in gain between each successive volume settin

­the entire gain range.

Total Harmonic Distortion

(THD+N)

.......................... <0.004%, 20Hz to 20kHz

m

figure to a minimum.

Frequency Response .......................................20Hz to 20kHz, +0dB –0.03dB

response versus frequency” for it describes how unif

specified almost seven times higher, thus exceeding the audible ran ge of
human ear.

Signal to Noise Ratio

(unweighted)

.............................................................. 100dB

The ratio of desired sign al to noise signals p resent in the output. The balanced
circuit topology of the SM6 provides the foundation for high noise rejection.

This figure is referenced to the rated output of the SM 6, taking into full account
all p otentially annoying hum components.

Dynamic Range......................................................................................... 116dB

signal. Due to CD formats 96dB dy namic range limit, the SM6 p rovides mo

can throw at it.

Channel Separation .................................................................... 105dB @ 1kHz

stray inductances and capacitances between compon

excellent high­maintains low-frequency separation.

Input Impedance..........................................................................................10kΩ

high quality source components.

33

Input Sensitivity........................................................................................ 200mV

s the amount of inp ut voltage required to drive the unit to its rated

output. Due to the gain setup of the SM6, it is able to achieve its rated output

level that each input circuit can

handle without overloading the preamplifier circuitry and sending it into

Shows the maximum amount of p hase difference at any point across the

Indicate

even from the lowest of input levels.

Input Overload........................................................................................ 3.9V

RMS

Input Overload specifies the maximum signal

clip ping.

Phase Accuracy ................................................................ ±0.5˚, 20Hz – 20kHz

frequency range 20Hz to 20kHz.

34

14

14

1414

Physical Dimensions

35

15

15

1515

For more information please contact y our Perreaux dealer, or contact:

Contact Details

Perreaux Industries Ltd
PO Box 305
Mosgiel
Dunedin 9053

New Zealand

Ph: [phone]
Fax: [phone]

E-mail: info@perreaux. com

Internet: www.p erreaux.com

36

Installation Notes

37